There is too great
a disposition on the part of amateur writers to split hairs over the
correct technical term. A matter of far more importance is to turn out
a good story.
_14. Camera Tricks and Special Effects_
With the way most trick-effects are produced in the studio the average
writer need be little concerned except as a matter of interest.[19]
The object of discussing them here is to show how certain plots, or
parts of plots, are made possible as a result of knowing how these
things _may_ be accomplished, whereas without this knowledge the
writer with a good idea might fear to include it in his story in the
belief that it was impossible of production. It may be remarked that
what is said here has a bearing on Chapter XV, in which is discussed
the matter of expense in picture production. Some of the very
companies who a few years ago were warning the beginning writer
against introducing action that would necessitate too great an outlay
of money are today producing features seemingly regardless of expense.
Yet most concerns are really exercising a wise economy and getting
some wonderful results with cleverly planned trick-camera work.
[Footnote 19: See Homer Croy's _How Motion Pictures Are Made_.]
For example, in one episode of the Wharton serial, "The Eagle's Eye,"
the German conspirators in New York, seeking to injure the cause of
the Allies and lay the blame on the American 'longshoremen at the same
time, arrange to have a train of freight cars, crossing on barges from
Manhattan to Jersey, dumped into the North River by removing the means
by which they are held in place on the tracks of the barge and
"letting 'em slide.
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